Cecil Howard arrives at simplicity by the path of knowledge. There is a deal of tall talk about simplification, and too often it is not a matter of choice on the part of the artist, a discriminating search for essentials, but a stupid excluding of all matter too difficult to record. For that reason one is doubly grateful to Howard for his exposition in its honest form of one of the most important esthetic principles ... It is probably because he is so well informed that each sculptured idea carries with it a certainty of intent. The Dancer
become the embodiment of the mood or the movement they aim to express, done with an unsentimental grace and an aristocratic gesture.
New York Times, January 11, 1925, p. 11
The bronze edition of this languid model was limited to four, with only two casts executed. The model was exhibited at the Whitney Studio Galleries, New York in 1925, and at the
Albright-Knox Art Gallery, Buffalo in 1925.